A Quote by Eddie Vedder
This little four-string songwriting tool started changing the way I brought songs to the group.
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There are no leftover Tool songs because of the process it takes to compose our songs - the way we hash it out in a room with all three or four of us, that there's tons of riffs and jams and things. But there's no put-together songs that are sitting in the eaves.
Less fear; more hope: just four little four-letter words, but when they are vividly felt as emotion, they are behavior changing, life changing, world-changing.
I've been sort of writing sketches for songs on my own forever and putting them down on cassette tapes. Yet for years and years and years, my main songwriting outlet was as a member of Sonic Youth, and for most of our time together, our best songs were written in a group setting, where the four of us were getting together in a room.
Actually, my first group was a folkloric group, an Argentine folkloric group when I was 10. By the time I was 11 or 12 I started writing songs in English. And then after a while of writing these songs in English it came to me that there was no reason for me to sing in English because I lived in Argentina and also there was something important [about Spanish], so I started writing in Spanish.
I don't really premeditate what I write my songs about; you know, they just kind of happen, and I can't start writing songs to please a certain group of people or propagate a certain message all the time. That's just not how my songwriting works - it just sort of comes out, and the songs are what they are.
With a four-string, the middle range is less of an option. That kind of 5th that you play on those A and D strings isn't there. So a lot of traditional rock sounds, you can't play them. But to be honest, there was no particular intention when I started playing with four strings. It just worked out that way and it sounded cool.
My dad grew up in Pittsburgh in the '50s, and he used to sing Four Seasons songs on the stoop. He made me listen to Cousin Brucie - the guy who broke the Four Seasons on the radio. So I knew all of their songs, but I didn't know they were all by the same group.
I didn't even know the industry of songwriting existed. I thought everybody sang songs and they were only singing the songs that they wrote. So after I found out about songwriting in college, I was like, "Okay, I want to do that."
I started singing when I was a little kid. I was about nine when we had a group with my four brothers. We sang spirituals. The old regular thing.
I wanted to play rock and roll when I started playing. Nobody at that time ever thought about songwriting. You sang songs, that's all. You sang other people's songs. That's all there were.
When you play all that as a body of work there are four great songs, four mediocre songs and four bad songs. I didn't know it at the time; I was just doing my best.
When I first started making music, it was learning other people's songs and putting them onto four-track. Like Beatles songs and stuff. When I started writing, I used the singing side of the production as a vehicle for melody and lyrical ideas.
When I first started making music, it was learning other peoples songs and putting them onto four-track. Like Beatles songs and stuff. When I started writing, I used the singing side of the production as a vehicle for melody and lyrical ideas.
Science is not perfect. It's often misused; it's only a tool, but it's the best tool we have. Self-correcting , ever changing, applicable to everything: with this tool, we vanquish the impossible.
Sonic Youth has always been the vehicle for my writing, you know, because it's a collective songwriting entity: we write our songs as a group.
When I was 13, I started writing songs, and it fell into my lap all of a sudden. I wrote poems and journals, but that's when it switched for me to songwriting. That's when I wanted to do everything. It was like a fire all of a sudden. I started coming to Nashville and moved here when I was 15.
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